Columnists – Desert Star Weeklyhttp://desertstarweekly.com
Serving the communities of Palm Springs, Palm Desert, Indio and Desert Hot SpringsWed, 01 Nov 2017 17:21:16 +0000en-UShourly1https://wordpress.org/?v=4.9.4PALM CANYON THEATRE PRESENTS A MUSICAL COMEDY THAT DELIGHTShttp://desertstarweekly.com/palm-canyon-theatre-presents-musical-comedy-delights/
http://desertstarweekly.com/palm-canyon-theatre-presents-musical-comedy-delights/#respondThu, 26 Jan 2017 10:57:08 +0000http://desertstarweekly.com/?p=1630Considering the mood that half of the country is in right now, a respite from the political machinations is definitely in order. It’s time for an evening of fun-filled entertainment that is sure to please anyone with a sense of humor and an appreciation for comedy along with silly and spectacular musical numbers, all executed […]

Considering the mood that half of the country is in right now, a respite from the political machinations is definitely in order. It’s time for an evening of fun-filled entertainment that is sure to please anyone with a sense of humor and an appreciation for comedy along with silly and spectacular musical numbers, all executed with energy, style, and creativity.

The Palm Canyon Theatre (PCT) of Palm Springs has been ‘knocking ‘em dead’ with their showmanship and quality productions for years. The Layne Family producers are now presenting the crowd-pleasing musical “Joseph and his Amazing Technicolor Dreamcoat”; one of their splashiest and fabulously costumed musical productions in several seasons. The production mounted on the recently expanded stage boasts a cast of 32 singers, actors, and dancers.

Photo credits Paul Hayashi

No one writes huge, successful, award-winning musical productions like Andrew Lloyd Weber, and his lyricist partner Tim Rice. Both men are multiple Tony and Academy Award winners and PCT has performed most of their musical theatre canon over the years.

“Joseph and the Amazing Technicolor Dreamcoat”, now on stage at PCT, is creatively directed, by veteran actor/director Charles Harvey, who brings a wealth of experience that cleverly breathes life into those fifty cast members, including a nine person on-stage “kid’s choir” (perhaps ages six to ten?). With that many people on the Palm Canyon stage, director Harvey must feel what it’s like to direct a herd of cats. Instead, of stage mayhem, the audience is treated to an entertaining ensemble experience where everybody knows exactly what they’re doing and why they’re doing it. It’s a visual feast for the eyes and ears.

This “Joseph and the Amazing Technicolor Dreamcoat” musical is based on Biblical source material that tells the story of Joseph and his eleven, not-so-nice, brothers who sell him into a life of slavery and bondage for money. The libretto takes a lot of liberties with the original, in that it employs the addition of anachronisms like the Egyptians using telephones, I-Phones, wearing gym shoes, using modern day expressions and Western Cowboy attire for certain scenes and such. It’s a bit of a biblical ‘hoot’ in its execution which usually appeals to younger people.

Photo credits Paul Hayashi

Think back to productions such as “The Rocky Horror Show” and “Young Frankenstein”, both seen at PCT not that long ago, and if memory serves, I believe I remember seeing “Joseph’s current director Harvey and his wife Kathy seated in the audience yelling dialogue lines to the actors on stage and throwing popcorn and assorted items, as is the traditional custom when attending a performance of the play. Yes, director Harvey is just the man to pull off all the silliness and fun inherent in this show. There may be, however, just a few people expecting to see a traditional rendition of the bible story. If that’s the case, I’m afraid they’re not going to find that story on the PCT stage.

What audiences who do attend will definitely find, is a thoroughly entertaining musical and a fun show; performed by a cast too large (52) to mention here in print. However, there are always stand-outs and this show is no exception. The two stars of the production are Julie Rosser Balbini who performs and sings as The Narrator in her lovely soprano, and Scott Clinkscales who winningly sings and acts the title character of Joseph. Solid support comes from Shafik Wahhab as Pharoah, who plays and sings him as Elvis Presley complete with a “thank you, thank you very much” at the end of each chorus. It’s a spot-on hilarious performance.

The technical department led by director Harvey includes Scenic and Lighting designs by PCT resident wizard J.W. Layne, who makes the normal stage space seem larger in order to accommodate its 52 performers. One can only speculate about the mayhem and chaos that is taking place backstage, while we see or hear none of it. Well Done, backstage crew!

Choreographer Jacqueline Le Blanc creates sharp, snazzy, and exciting dance routines for everyone, but really shines in the athletic and sensuous Pas de Deux number danced by Kate Antonov and German Pavan. Jeff Jones is the sound designer and Steven Smith is the Musical Director.

The Palm Canyon Theatre is presenting a dazzlingly fun and entertaining show that runs through February 5, 2017. For reservations and ticket information call the box office at 760-323-5123. Don’t Miss It!

]]>http://desertstarweekly.com/palm-canyon-theatre-presents-musical-comedy-delights/feed/0CV REP THEATRE DEBUTS A DELIGHTFUL MUSICALhttp://desertstarweekly.com/cv-rep-theatre-debuts-delightful-musical/
http://desertstarweekly.com/cv-rep-theatre-debuts-delightful-musical/#commentsThu, 26 Jan 2017 10:47:51 +0000http://desertstarweekly.com/?p=1624Artistic director Ron Celona has a penchant for finding and directing winning productions for his intimate 88-seat, CV Repertory Theatre venue. He has yet to meet a challenge he and his outstanding technical team can’t overcome. Their current production of “Baby The Musical”, is a case in point. This creatively performed musical, directed by Celona, […]

Artistic director Ron Celona has a penchant for finding and directing winning productions for his intimate 88-seat, CV Repertory Theatre venue. He has yet to meet a challenge he and his outstanding technical team can’t overcome.

Perry Ojeda and Erica Hanrahan-Ball. Photo credit CVRep

Their current production of “Baby The Musical”, is a case in point. This creatively performed musical, directed by Celona, boasts a cast of ten highly talented singer/actors that shine in the intimate staging space of CV REP. In addition, the production also features four, live off-stage musicians, under the first-rate musical direction of Scott Storr.

Most of the audience on opening night probably didn’t know that this fabulous little musical gem was written back in 1983, running for a year on Broadway, nor did I. If one does remember it, then you’ll be pleased to know that a couple of tweaking, and updating features – a new musical number here and the dropping of a couple there, plus a fresh feel to the libretto to go along with Shires’ wonderful score and Maltby’s ingenious lyrics – have enhanced the overall enjoyment of this production.

The time is the present and the place is a college town. Three appealing couples, each newly expecting a child, have different but familiar reactions to their coming blessed event. The “Millennials”, Lizzy and Danny wonderfully played and sung by Melody Hollis and Caleb Horst, are university juniors who have just moved in together. The “Generation Y” couple, Athletic Pam (Erica Hanrahan-Ball) and her sports instructor husband, Nick (Perry Ojeda), have had some trouble conceiving. The Generation X couple Arlene (Janna Cardia) and her husband Alan (Tom Andrew), already have three grown daughters. Arlene, unsure of what to do at age 40+, is contemplating an abortion while Alan is thrilled with thought of a new baby. There are many poignant and compelling moments in this insightful production that really resonate with the audience.

Janna Cardia and Tom Andrew. Photo credit CVRep

All productions today should be so lucky as to be blessed with an ensemble cast of singers that can act like those in “Baby The Musical”. Not only are all the three couples always in the moment with each other, there is an on-stage chemistry that leaps over the footlights into the audience that keep us totally engaged as well. It’s almost palpable and it’s infectious.
As way of a bonus for the senior citizen crowd, the only four letter word you will hear in this production is ‘love’. And as composer/lyricist Burt Bacharach wrote years ago, “What the world needs now, is love, sweet love”, is so right on the mark.

Theatre in all its forms is a collaborative effort. The story, in addition to its stars, features a ‘Greek chorus’ of four performer/singers, who not only provide the audience with background, but also get the opportunity, as various comedy characters, to join in the fun, as well. This ensemble includes: Jaci Davis, Joseph M. Dahman, Giulia Ethel Tomasi, and Jeff Stewart.

A great deal of the credit for this crowd-pleasing production goes to director Celona, who does a tremendous job of ‘traffic management’ with the daunting quick scene and set changes required to make those multi-locations scenes go smoothly and seamlessly.

Caleb Horst and Melody Hollis. Photo credit CVRep

Also credit goes to Set Design wizard Jimmy Cuomo, and lighting designer Moira Wilkie Whitaker for creating enough space and illumination touches that allow the actors and singers to perform their magic. Under musical director Scott Storr’s baton and piano, the musical features local professionals who can be seen in venues all over the Coachella Valley. They are: Danny Gutierrez; on keyboards; Dave Hitchings on percussion; Doug McDonald on guitar and Bill Saita on Bass.

“Baby The Musical” is a terrific production that produces insight and knowing smiles as it entertains its audiences. It performs at CV REP Theatre in Rancho Mirage, and runs through February 12, 2017. Call the box office for reservations and ticket information at 760-296-2966. Don’t Miss It !

]]>http://desertstarweekly.com/cv-rep-theatre-debuts-delightful-musical/feed/1DEZART PERFORMS THOUGHT PROVOKING COMEDY IN PALM SPRINGShttp://desertstarweekly.com/dezart-performs-thought-provoking-comedy-palm-springs/
http://desertstarweekly.com/dezart-performs-thought-provoking-comedy-palm-springs/#respondWed, 18 Jan 2017 18:16:20 +0000http://desertstarweekly.com/?p=1612The American theatre has a real-life, intrepid, grownup playwright in Bruce Norris who is isn’t intimidated by questionable social mores that have been sequestered and festering under society’s radar screens for decades. “Clybourne Park”, is an in-your-face comedy under the clever direction of Artistic Director Michael Shaw that deftly navigates the turbulent waters of America’s […]

The American theatre has a real-life, intrepid, grownup playwright in Bruce Norris who is isn’t intimidated by questionable social mores that have been sequestered and festering under society’s radar screens for decades.
“Clybourne Park”, is an in-your-face comedy under the clever direction of Artistic Director Michael Shaw that deftly navigates the turbulent waters of America’s history with racism.

Act One is set in segregated Chicago’s Clybourne Park northwest side neighborhood in 1959. Act Two is set in the same neighborhood, in the same house, fifty years later. Both acts deliver the comedy’s many ‘seat-squirming’ moments where the characters tell it like it is, at least, from their perspectives. The candid dialogue results in thought-provoking comedy with hard edges and loads of laughs. One could say, that the shock-of-recognition-effect, allows for both positive and negative points of view to feel liberated enough to engage head to head, in an honest depiction of life in Chicago of the 1950s and fifty years later. It’s a case of what goes around comes around and, it’s hilariously performed.

(L-R) Desireé Clarke, Robert Ramirez and David Youse, performing at the Pearl McManus Theatre through January 22. Photography by Clark Dugger

Director Shaw has gathered an intelligent and talented cast of seven local performers and one Los Angeles Equity actor that deliver the comedy goods no matter whose bull is being gored. Leading the terrific ensemble cast in order of appearance are: David Youse as Russ/Ken, Theresa Jewett as Bev/Kathy, Desiree Clarke as Francine/Lena, Robert Rancano as Jim/Tom, Robert Ramirez as Albert/Kevin, Rob Hubler as Karl/Steve, Phylicia Mason as Betsy/Lindsey, and Sean Timothy Brown as Kenneth.

Act One, centers on one home in a white neighborhood that has a black family interested in purchasing it. The white family is being pressured not sell to the black couple by the neighborhood homeowners association. The neighbors fear the sale will promote white flight from their comfortable, upscale neighborhood. In Act Two, fifty years later, the actors play different characters, but the issues are similar but with an ironic twist. The beauty of this play lies in the performances of the actors and how the characters resolve their issues is the meat as well as the enjoyment of the play. It’s a highly entertaining show, however, it’s somewhat of a cautionary tale about who we were as a society fifty years ago and how far we think we have come. When current events (like Ferguson, MO, and Baltimore, MD) negate the gains, it only means that we, as a society, have more challenges and more work still to do. Also, the coda at the end of Act Two between Sean Timothy Brown and David Youse is a misty-eyed, compelling, poignant, and powerful moment, that leaves the audience sitting in stunned silence.

(L-R) Theresa Jewett, Phylicia Mason, David Youse, Robert Rancano, Desireé Clarke, Robert Ramirez and Rob Hubler, performing at the Pearl McManus Theatre through January 22. Photography by Clark Dugger

There’s bound to be audience members that may find the carefully crafted dialogue offensive due the incendiary nature of the plot and the social mores of the day. The dialogue is sprinkled with language that echo the vernacular of the streets, so you might want to leave the kiddies and grandkids at home.

In the technical department led by director Shaw, Set Designer Thomas L.Valach creates the appropriate space for the actors to work their magic. Award-winning Lighting Designer Phil Murphy provides the lights that allow the audience to see and appreciate the costumes designed by Jim Lapidus. Sound Designer and Producer Clark Dugger is the group’s technical wizard and ‘go to guy’ for finishing touches and flourishes in all things technical. James Geier is the Wig Designer, and Diane McClure stage manages.

“Clybourne Park” performs at the Palm Springs Woman’s Club on the Pearl McManus stage through January 22nd.

]]>http://desertstarweekly.com/dezart-performs-thought-provoking-comedy-palm-springs/feed/0WORLD PREMIERE OF STEVE MARTIN COMEDY AT OLD GLOBE THEATREhttp://desertstarweekly.com/world-premiere-steve-martin-comedy-old-globe-theatre/
http://desertstarweekly.com/world-premiere-steve-martin-comedy-old-globe-theatre/#respondTue, 23 Aug 2016 21:03:03 +0000http://desertstarweekly.com/?p=1585Steve Martin is a multi-talented creative artist and performer that has reached back with his new play to his 1960s counter-culture days on the Smothers Brothers TV show, where he played a wacky guy who dispensed cheeseburgers in comedy skits to the delight of his young audience. Fifty years later those earlier audiences are now […]

Steve Martin is a multi-talented creative artist and performer that has reached back with his new play to his 1960s counter-culture days on the Smothers Brothers TV show, where he played a wacky guy who dispensed cheeseburgers in comedy skits to the delight of his young audience.

Fifty years later those earlier audiences are now in their 70s and 80s and Martin is still drawing them into his comedy orbit; only this time he’s the playwright, not that goofy cheeseburger slinging performer.

“Meteor Shower”, his latest play, is currently wowing audiences at the Old Globe with his far-out sense of humor that deals with the social mores of 1990s California. It has already been extended twice. Martin’s cleverly crafted comedy, peppered with adult situations and dialogue, is wickedly directed by Gordon Edelstein, artistic director of the famed Long Wharf Theatre of New Haven, Connecticut.

California, some claim, is a state of mind. In the past, it has dealt with flower children, Timothy Leary and LSD, Haight-Ashbury pot, TV driven mega-churches, along with evangelism, auto-centric grid-lock traffic and a host of fads too numerous to mention here. Guess what? California is still here. The life-style and the weather in the Golden State is still a dream that beckons and is worth pursuing.

Josh Stamberg appears as Gerald and Jenna Fischer as Corky-Photo by Jim Cox

“Meteor Shower” is a fresh comedy take on those wild and crazy days of the sexual revolution in the 60s. Martin sets his production in Ojai, California, a community about 90 miles east of Los Angeles. In short, the action revolves around Norm (wackily played by Greg Germann) and his suburban wife Corky (Jenna Fischer) who invite another couple Gerald (an over-the-top narcissist/stud played to the hilt by Josh Stamberg) and his predatory wife Laura (sexily played by Alexandra Henrikson) to a backyard party to watch the evening meteor shower in the night sky.

As the stars come out and the cocktails flow, tempers flare, and the sparks fly – literally, according to program notes (but no spoiler alerts at this time). The dialogue and adult situations are not out of Edward Albee’s playbook as in Who’s Afraid of Virginia Woolf?” , but are more in line with a super cool Neil Simon-like comedy spiced with touches of very sophisticated ‘naughty’. However one views it, the play is pretty damn funny, at least it was the night I attended. Judging by the laughs, I would say the females in the audience caught more of the essence of the dialogue and situations than the gentlemen by far.

When one stops trying to figure out where this story is going and just lets the surreal action unfolding on the stage wash over oneself, you will have a much more enjoyable experience.

How could one not enjoy it? Director Edelstein has gathered four talented farceurs who know their way around a farce production when they find themselves in one. Mr. Germann is a comic delight with rubbery facial expressions that speak volumes along with posture and great timing. Ms. Fischer, the epitome of reserve in Act I, is a revelation in candor in Act II; a delicious case of the worm turning.

Mr. Stamberg is the kind of preening, no-woman-can-resist-my-charm male party guest you would love to spill a tray of drinks on. Ms. Henrikson, as the predatory Laura, does her best in that svelte red sheath with ruby-red lips to match as she unnerves both Corky and Norm.

Martin’s dialogue sparkles in a surrealist way, as long as you’re on his wavelength. If you’re not, you may miss his comic thrust of situations some think they would like to find themselves in. But, be careful what you wish for…

Director Edelstein leads the creative team headed by scenic designer Michael Yeargan’s clever backyard set, lighted by designer Donald Holder, along with costumes designed by Jess Goldstein. The original music and sound design is by John Gromada.

Meteor Shower” is a highly entertaining comedy production that performs in the round on the Sheryl and Harvey White Theatre stage and will perform through September 18, 2016.

]]>http://desertstarweekly.com/world-premiere-steve-martin-comedy-old-globe-theatre/feed/022ND ANNUAL PALM SPRINGS INTERNATIONAL SHORT FILM FEST LAUNCHEDhttp://desertstarweekly.com/22nd-annual-palm-springs-international-short-film-fest-launched/
http://desertstarweekly.com/22nd-annual-palm-springs-international-short-film-fest-launched/#respondThu, 23 Jun 2016 16:37:47 +0000http://desertstarweekly.com/?p=1577It’s the largest short film festival in North America and its being held right here in Palm Springs. This year marks the 22nd time short films take center stage over their longer full length feature film cousins from the annual Palm Springs International Film Festival (PSIFF) held in January every year. The short film genre […]

It’s the largest short film festival in North America and its being held right here in Palm Springs. This year marks the 22nd time short films take center stage over their longer full length feature film cousins from the annual Palm Springs International Film Festival (PSIFF) held in January every year.

The short film genre is a format geared to telling its creative story in a matter of minutes. For fans of short films this is what draws them to short film festivals. To view the talent and creativity of filmmakers is the all-important fan ingredient required, and this year’s lineup of films from 54 countries is no exception. The festival will screen over 325 films from all genres and subject matter at the Camelot Theatres in Palm Springs, beginning Tuesday, June 21st at 6:30 pm and will run until Monday, June 27, 2016.

The 87 minute Opening Night film program consists of six short films from award-winning filmmakers that range in a screening time of between 11 to 20 minutes, and come from filmmakers in UK/Kenya, Netherlands, France, Kyrgyzstan/UK, and two films from the USA.

All opening night films are award winners from the world’s top film festivals and make up this delightful package of films, which, are designed to spotlight the most talented emerging international film directors.

All the screenings are formatted into subject genres in such a way as to present six or eight short films in one sitting that run approximately 90 minutes. Over the six days of the festival the public will view over 325 films. Festival Director Helen du Toit says “Our program team has scoured the planet for powerful stories that represent new takes on an age-old storytelling tradition. Drawing on our wide range of tastes, experiences and individuals expertise, we have shaped a program full of films that will take you on journeys from the profound, to the sublime.”

The Short Film Festival attendance packages are varied to suit all tastes and pocketbooks. For information on purchasing individual tickets or any of the various packages like the Opening Night, The Reel Deal 6 – Pack, the Awards Night, The Insider Pass, and the Chairman’s Pass packages, please call the festival box office at 760-778-8979, or go online to www.psfilmfest.org, or purchase tickets directly from the Camelot Theatres, box office located at 2300 E. Baristo Road, Palm Springs. Hours of Operation: 10 am to 5 pm.

This fun, intriguing, and thought-provoking festival comes just once a year. I promise, you won’t be disappointed. Don’t Miss It!

]]>http://desertstarweekly.com/22nd-annual-palm-springs-international-short-film-fest-launched/feed/0OLD GLOBE STAGES A COMPELLING PLAY SURROUNDING THE 1978 MID-EAST PEACE ACCORDShttp://desertstarweekly.com/old-globe-stages-compelling-play-surrounding-1978-mid-east-peace-accords/
http://desertstarweekly.com/old-globe-stages-compelling-play-surrounding-1978-mid-east-peace-accords/#respondFri, 03 Jun 2016 16:29:11 +0000http://desertstarweekly.com/?p=1565Contrary to what our current Congress seems incapable of doing what it should be doing when it comes to compromise, or to put it in Washington, DC, vernacular to practice ‘the art of the deal’ so loved by our politicians and others who seek public office these days. Bringing disparate parties and points of view […]

Contrary to what our current Congress seems incapable of doing what it should be doing when it comes to compromise, or to put it in Washington, DC, vernacular to practice ‘the art of the deal’ so loved by our politicians and others who seek public office these days.

Bringing disparate parties and points of view to a resolution in any situation is not an easy task. In international diplomacy it’s especially difficult and frustrating when it appears that the stars are beginning to align with an agreement in sight, only to have the negotiations breakdown once again by entrenched positions where nobody wants to appear as having ‘given in’.

Back in 1978 then U.S. President Jimmy Carter took on the role of being a peace-maker and broker, bringing Israeli Prime Minister Menachem Begin and Egyptian President Anwar Sadat together at Camp David in Maryland, for discussions on how to craft a peace accord between the two sworn enemies that fought four wars over their differences. It was an ambitious and daunting undertaking.

“Camp David” is a riveting and informative play written by Lawrence Wright, that is insightfully directed by Washington’s Arena Stage’s artistic director Molly Smith starring four gifted actors: Richard Thomas as President Jimmy Carter, Broadway’s Ned Eisenberg as Menachem Begin, Hallie Foote as Rosalyn Carter, and Egyptian film star Khaled Nabawy as Anwar Sadat. Bryan Banville and Jon Maxwell play Marines assigned to the guard the participants.

Richard Thomas as Jimmy Carter and Hallie Foote as Rosalynn Carter

In Wright’s stage play we are like flies on the wall who pierce the veil of high level international diplomatic chess-like verbal games played by two world leaders who are reluctant to give an inch when the discussions begin. Wright’s premise of what takes place over 13 days allows the audience to view the human side of each player, the same way the characters learn to interact with each other. Each day the characters of Begin and Sadat slowly change their rigid and frozen ideologically-held positions as they get to “know each other”.

Conflict in all its forms is the stuff of great drama. When the outcome is known, as in this production, it falls to the actors to perform the heavy lifting of sweeping the audience along with Wright’s brilliant narrative. Great writing makes the work of actors a pleasure. It presents each actor the luxury of being able to create a fully developed, interesting character.

Richard Thomas’ winning performance as President Carter, shows the former, self-effacing President to possess more skills and qualities than just being a peanut farmer from Georgia. Thomas’ performance allows the audience to peek into the private and pressure-driven life of a spiritual American President who has his doubts about the success of the audacious project he has undertaken. Hallie Foote as Rosalyn Carter delivers not only charm, support, and respect for her husband as the leader of the free world, she is an important partner-player in the negotiations taking place at Camp David. Both are finely crafted performances.

The portrayal of Eisenberg’s Begin, who once was listed as a terrorist, renders the Israeli Prime Minister as not only a strong leader, but also as a man who can be warm and one with a sense of humor who understands what’s a stake in any peace accord with the Egyptians. The Arab Middle East for years has vowed to drive the Jewish people into the sea, along with their ancient homeland Israel. Eisenberg’s Begin is a highly nuanced and compelling performance.

Nabawy’s characterization of Anwar Sadat presents a man who realizes that any decision made at Camp David will affect millions of people, and in the process, will label him as being a traitor to the Arab cause (Sadat was assassinated three years later by fundamentalist army officers for his part in the 1978 Peace Accord). It should be noted that the Carter-brokered Peace Accord between Israel and Egypt has been in place for almost forty years with no wars. However, the Middle East of today remains in chaos. Diplomacy should always trump (no pun intended) war in most cases.

“Camp David” is a stellar ensemble effort on the part of the company. It is also a credit to the skill and vision of director Smith who previously staged the play at the Arena Stage in Washington, DC in 2014, and as the director, continues to find fresh nuances in the material and the ensemble performances.

The Old Globe has few equals when it comes to the technical elements, and this production is no exception. Director Smith heads a richly inventive creative team led by Scenic Designer Walt Spangler who recreates the woodsy setting of Maryland’s Camp David presidential retreat. Lighting by Designer Pat Collins serves up many mood-inducing moments and allows the audience to see the costumes of Designer Paul Tazewell. The projection designs of Jeff Sugg, and the sound design and original music by David Van Tieghem further compliment this splendid overall production.

Artistic Director Barry Edelstein continues to provide San Diego audiences with first rate theatrical entertainment. “Camp David” performs on the Donald and Darlene Shiley Stage through June 19, 2016.

]]>http://desertstarweekly.com/old-globe-stages-compelling-play-surrounding-1978-mid-east-peace-accords/feed/0A CELEBRATION OF LIFE FOR GLORIA GREER, PALM SPRINGS AMBASSADOR TO THE WORLDhttp://desertstarweekly.com/a-celebration-of-life-for-gloria-greer-palm-springs-ambassador-to-the-world/
http://desertstarweekly.com/a-celebration-of-life-for-gloria-greer-palm-springs-ambassador-to-the-world/#respondFri, 11 Dec 2015 18:02:40 +0000http://desertstarweekly.com/?p=1493The Camelot Theatre in Palm Springs was the venue for the celebration of the life and legacy of Gloria Greer, local entertainment and society journalist, on the chilly evening of November 30th. Greer, whose byline appeared in hundreds of columns, magazines, television appearances and more for over 50 years was honored by friends, fans and […]

]]>The Camelot Theatre in Palm Springs was the venue for the celebration of the life and legacy of Gloria Greer, local entertainment and society journalist, on the chilly evening of November 30th. Greer, whose byline appeared in hundreds of columns, magazines, television appearances and more for over 50 years was honored by friends, fans and family whose lives were touched by her non-stop reporting on the desert’s social scene. Her spirited reporting on celebrities the likes of Frank Sinatra, Bob Hope, President Gerald R. Ford, Ambassador Walter Annenberg, Lucille Ball, Kurt Douglas and Donald Trump, not to mention Elvis Presley helped bring Palm Springs into the international limelight.

Gloria was known throughout the desert for her popular column in Palm Springs Life magazine where her thorough coverage of events from the Palm Springs International Film Festival and philanthropic events year round were a must read for those who looked forward to her monthly chronicle, including this reporter. “This was truly a remarkable evening for all who cherished the glamour and history of the desert,” said Grace Robbins, her longtime friend. “I met Gloria in the South of France in the 1970s on my yacht, the Gracara. I knew nothing about Palm Springs and Gloria raved about all that has made Palm Springs a legend. I wanted to know everything about it, and ended up living here, all thanks to Gloria’s enthusiasm. I owe a lot to her,” Robbins added.

Guests began arriving at the Camelot Theatre’s tented terrace around 5PM for a reception and were seated inside by 6PM. Already seated for the event in the front row were Carol Channing, Bea Levy and Dr. Joe King.

Pianist Rush Robinson charmed the audience with mellow hits from the 1950s and beyond such as “I’ll be Seeing You “ and “Our Love is here to Stay”. Gloria’s daughters Ann and Norma welcomed guests as commentaries from Peggy Cravens, lifelong friend, Karen Devine, KESQ-TV news anchor, Amy Blaisdell, Communications director for Palm Springs and others remembered Gloria and her irrepressibly upbeat attitude.

Images of Gloria’s youth revealed growing up in New York City followed by snapshots from the 1930s taken in Los Angeles, enhanced by clips from her television segment, “Stars on the Desert” broadcast on KMIR-TV, the Coachella Valley’s NBC affiliate, that focused on the charities and local celebrities calling the desert home. Gloria’s inimitable smile was captured in images from her youth throughout.

Of Ms. Greer, “She made Palm Springs the place to be,” said Ruta Lee, Gloria’s “little sister” who brought guests to tears and laughter with her well-chosen words and impeccable sense of timing. “It was an evening Gloria would have loved,” said Ric Supple, the long time owner of RR Broadcasting.

]]>http://desertstarweekly.com/a-celebration-of-life-for-gloria-greer-palm-springs-ambassador-to-the-world/feed/0The Wonderful Whacky World of “Murder for Two” on Stage at the Geffen Playhousehttp://desertstarweekly.com/the-wonderful-whacky-world-of-murder-for-two-on-stage-at-the-geffen-playhouse/
http://desertstarweekly.com/the-wonderful-whacky-world-of-murder-for-two-on-stage-at-the-geffen-playhouse/#respondThu, 25 Jun 2015 17:21:49 +0000http://desertstarweekly.com/?p=1416Beverly Cohn Murder for Two is an Agatha Christie-style whodunit on speed. With an original fun book and entertaining music by Joe Kinosian and book and lyrics by Kellen Blair, under the superb split-second timing and staging by director Scott Schwartz, fasten your seat belts for a non-stop 90 minutes of unabashed, high spirited, comic […]

Murder for Two is an Agatha Christie-style whodunit on speed. With an original fun book and entertaining music by Joe Kinosian and book and lyrics by Kellen Blair, under the superb split-second timing and staging by director Scott Schwartz, fasten your seat belts for a non-stop 90 minutes of unabashed, high spirited, comic antics.

Originally performed by Jeff Blumenkrantz as the multiple “The Suspects,” and Brett Ryback as the fumbling wanna-be detective, this award-winning show was named one of the “8 Best Off-Broadway Shows” by NewYork.com. In this performance, an outrageously funny, gifted actor, understudy John Wascavage took on the daunting task of playing the role of “The Suspects.” He played thirteen different characters, endowing each of them with specific vocal and physical characteristics, bringing each one to life in swift, mercurial transitions.

In this two-hander tour-de-force, both talented actors take turns playing the piano and belting out the catchy score – occasionally trying to upstage each other at the piano in deliberately stylized, comedic movements. You would never think that just hitting one note on the piano could be funny, but indeed it is. The plot revolves around the murder of Arthur Whitney, a famous novelist who is killed in his home on the night of his birthday celebration. The planned surprise festivities were put together by his unpleasant wife, with the guest list consisting of people who, coincidentally, appeared as characters in some of Whitney’s novels – not all the depictions being complimentary.

One by one the guests “appear” and with his rubber face and elastic body akin to Jim Carey or the famous physical comedian Frank Gorshin, Wascavage shifts into each of the characters in a nanosecond. For example, with only a single prop of granny glasses, Mrs. Whitney springs to life wearing a far out southern accent. In the blink of an eye, he is now a prima ballerina and assumes a selection of exaggerated, elongated ballet poses, including pursed lips.

Meanwhile, the invisible dead body lies downstage center with everyone careful not to step on it. Poor bumbling Marcus grills each of the guests, taking prodigious notes. As he continues his investigation of the guests, they actually seem to “crowd” the stage, thanks to the remarkable Wascavage’s ability.

Some of the other invisible guests included, Whitney’s next-door neighbors, a shrink who knows everything about everyone and is willing to spill the beans, and little nine-year-old Timmy, a member of a 12-boy chorale with only three members. For this character, Wascavage walks on his knees and of course changes his vocal sound. There’s also a firefighter, and the niece of the dead novelist, on whom Marcus develops a crush. The more suspects Marcus interviews, the more he realizes that just about everyone has a motive for wanting the novelist dead, making it difficult to eliminate any of the suspects

In addition to creating all the characters, imaginary props were also created, including a book represented by Wascavage’s hand. When Marcus says it’s hard to read, Wascavage turns his hand in the other direction, indicating Marcus was holding the invisible book upside down. In one brief scene, Marcus talks to his boss who is depicted in projected silhouette bearing an uncanny resemblance to the famous profile of Alfred Hitchcock.

Laughter abounds throughout the evening with one particularly amusing running gag, which was the sound of a cell phone ringing. Wascavage broke character, as well as the fourth wall, admonishing the audience with:

“You were told to turn those things off.”

Phone keeps ringing.

“I’ll wait.”

This happened several times throughout the evening, much to the delight of the audience some of whom, I’m sure, worried that it might really be their phone.

Lest you are worry that the murderer will get away with, well, murder, just like in Agatha Christie’s many books, there is a satisfactory resolution which is revealed in a most surprising way, but that’s all I’ll say about that.

The technical values of this cabaret-style production are as perfect as the performances. The interior of the mansion set design by Beowulf Boritt is an excellent frame for the non-stop zany antics, with the lighting design by Jason Lyons nicely splashing color on stage reflecting the prevailing action. The proscenium arch is encircled by lights, which light up at appropriate times in the action, with a single bulb lighting up whenever Marcus has an idea. Jill BC DuBoff’s amusing sound design added to this show’s success, as well as Wendy Seyb’s choreography and Andrea Lauer costume design.

This delightfully entertaining show has been performed all over the country. How lucky we are that it landed on stage at the Geffen Playhouse.

]]>http://desertstarweekly.com/the-wonderful-whacky-world-of-murder-for-two-on-stage-at-the-geffen-playhouse/feed/0North Coast Rep Theatre Has A Triumph With “Freud’s Last Session”http://desertstarweekly.com/north-coast-rep-theatre-triumph-freuds-last-session/
http://desertstarweekly.com/north-coast-rep-theatre-triumph-freuds-last-session/#respondFri, 24 Oct 2014 16:52:57 +0000http://desertstarweekly.com/?p=1320At last, a thinking person’s play about the vexing concepts and issues concerning the philosophy of science versus the philosophy of faith in today’s society. It wasn’t much of an issue, say, 5000 years ago. Then again, there wasn’t much of a scientific community or advocates to challenge the established order. But, today it’s a […]

At last, a thinking person’s play about the vexing concepts and issues concerning the philosophy of science versus the philosophy of faith in today’s society. It wasn’t much of an issue, say, 5000 years ago. Then again, there wasn’t much of a scientific community or advocates to challenge the established order. But, today it’s a much different kettle of fish.

Playwright Mark St. Germain has crafted “Freud’s Last Session” – brilliantly staged and directed by North Coast Rep Theatre artistic director David Ellenstein – in order to bring together, one afternoon in 1940, two of the 20th century’s most influential writers and thinkers in a head to head spirited discussion.

Michael Santo and Bruce Turk

The story in short, is set in WW II England, during the Blitz of London and revolves around a fictional meeting between Sigmund Freud and novelist C.S. Lewis. Near the end of his life, Freud has one final visitor, C.S. Lewis, the writer and former atheist now a convert to Roman Catholicism who is soon to publish “The Lion, the Witch and the Wardrobe”. The two men are a contrast in styles. Freud (wonderfully played by Michael Santo) is irascible, highly opinionated, prickly and suffering from painful mouth cancer. Lewis (an introspective, low key Bruce Turk) is a glass-half-full, sunny outlook sort of a fellow and is unflappable most of the time. The result of their meeting is a lively debate touching on love, religion, politics and life in its many iterations.

Of course, the most spirited exchanges between polar-opposite philosophies inevitably boil down to either politics or religion or both as in our modern-day society. Despite one’s position on the issues, it’s a stimulating, thought-provoking, amusing, and engaging evening of theatre. And it all takes place in about 85 minutes.

Director Ellenstein’s entertaining production has two extremely talented actors in Santo and Turk, plus an erudite, richly-textured, intelligent premise and script from playwright St. Germain with which to have fun, as well as to tantalize his sophisticated theatre audience. Freud relishes his exchanges with Lewis occasionally punctuating his comments with “thank God”, at the end of sentences, which always get a laugh from the engaged and savvy audience. When pressed by Lewis, Freud replies, “It’s an old habit I’ve been trying to overcome for years”. The genuine mutual respect the characters have for one another is apparent from the outset, and the fluidity of their performances have Ellenstein’s creative fingerprints all over them.

Freud Cast and crew

The format is an old one. Two famous characters come together to discuss and/or debate their philosophically held public and personal opinions. Its “fight-night” in the theatre, between two highly educated and refined gentlemen, but without the rancor or “the win-at-any-cost” street-fighter tactics that pass today for civilized discourse. Words have power and are meaningful in St. Germain’s and Ellenstein’s highly literate and entertaining production, and surprise of surprises, there isn’t one “f-bomb” hurled from the stage into the audience (emerging playwrights please take note. Buy a thesaurus and apply generously to your dialogue).

St. Germain, Ellenstein, Santo, and Turk, are the main reasons this splendid production resonates with the audience. However, a great deal of the success of North County Rep Theatre productions rests on the creative shoulders of its talented production staff led by Resident scenic designer Marty Burnett, who provides the actors in this production a pitch-perfect rendering of Sigmund Freud’s Vienna home before Freud and his daughter Anna escaped from Austria to England. Its mahogany walls and built-in bookshelves lined with stacks of books, tables, and Freud’s large desk set the tone from the moment the audience walk in. It’s my belief that a great set has a lot to do with inspiring a talented cast.

Lighting designer Matt Novotny’s atmospheric lighting plot provides just the right amount of light to see the wonderfully spot-on period-perfect costumes of Alina Bokovikova from Santo’s classic black pinstripe, to Turk’s wartime clothes-rationing look. Turk looks as if he just stepped away from his teaching position at London University to meet Freud; complete with brown shoes and socks with a gray jacket, blue sweater, a light green, slender knotted tie and the ubiquitous trench coat, in the event it rains (It usually did when I lived there). Props design and stage dressing by Benjamin Cole enhance the overall look and feel of this impressive production which is definitely a triumph for North Coast Rep.

“Freud’s Last Session” at North County Rep runs through November 9, 2014.

]]>http://desertstarweekly.com/north-coast-rep-theatre-triumph-freuds-last-session/feed/0 St. Joseph Players Present Neil Simon’s “Brighton Beach Memoirs”http://desertstarweekly.com/st-joseph-players-present-neil-simons-brighton-beach-memoirs/
http://desertstarweekly.com/st-joseph-players-present-neil-simons-brighton-beach-memoirs/#respondWed, 15 Oct 2014 19:31:03 +0000http://desertstarweekly.com/?p=1305St. Joseph Players of Yucca Valley are presenting Neil Simon’s semi-autobiographical nostalgic comedy “Brighton Beach Memoirs”. It’s one of Neil’s personal favorites even to the point of writing the lead character of Eugene Jerome based directly on his own experiences growing up as a teenager in Brooklyn, NY during the 1930’s and the Great Depression. […]

St. Joseph Players of Yucca Valley are presenting Neil Simon’s semi-autobiographical nostalgic comedy “Brighton Beach Memoirs”. It’s one of Neil’s personal favorites even to the point of writing the lead character of Eugene Jerome based directly on his own experiences growing up as a teenager in Brooklyn, NY during the 1930’s and the Great Depression.

The beauty of plays by Simon is that one can always relate to his characters and their situations even when the script shows cracks from the aging process. One can always find and enjoy the underlying truth of his work which crosses generational, racial, and religious lines.

“Brighton Beach Memoirs”, lovingly directed by Desert Theatre League award winning director Rebecca Haveley, is a coming of age comedy set in the Brighton Beach section of Brooklyn that focuses on Eugene Morris Jerome (Trevor Carpenter), a 13 year-old Jewish-American teenager who experiences puberty, sexual awakening, and a search for a sense of identity amid the chaos of growing up in a household full of relatives who are grappling with various crises of their own: unemployment, tight family budgets, and the raising of fatherless children in trying times. It is a time in America where every family member of a workable age is expected to financial contribute and help out his or her family.

On stage sisters Nora (Elizabeth Schmelling) and Laurie (Madison Tuttle) pose on the set of Brighton Beach Memoirs.

It is also a time when young Eugene is trying to deal with his family including his older brother Stanley (Vincent Thomas), his parents Kate and Jack Jerome (Rebecca Haveley and Leonard Weber, respectively), Kate’s sister Blanche (Shelly Sheckler), and her two daughters, the beautiful sixteen year-old Nora (Elizabeth Schmelling), upon whom Eugene has a major crush, and Laurie (Madison Tuttle) who is close to Eugene’s age. The girls and their mother Blanche, moved in with Jack and Kate after the death of Blanche’s husband.

Rebecca Haveley, as the director has a knack of bringing out the best in her supporting character actors. Elizabeth Schmelling turns in a fine performance as Nora, Eugene’s sixteen year-old cousin. Nora on the edge of womanhood, is desperately trying spread her almost adult wings in her search for independence and an opportunity to enter the world of show business. Schmelling’s thoughtful and intelligent eye-contact steady in all scenes stands out as does Leonard Weber’s pitch-perfect New York accent of Jack Jerome, along with the understanding of his character as the family Patriarch in a house with four females. This is the 1930’s remember, it also is a time when Papa’s ruled the roost. Weber’s take on Jack Jerome is nicely drawn and very appealing.

Another nice performance is delivered by Vincent Thomas as Stanley the older brother. Despite, a slight case of the opening night jitters, Thomas settled in and his “birds and the bees” scenes with Carpenter’s Eugene was one of the comedy highlights of the evening. Carpenter appeared to have suffered a slight case those actor’s jitters in his monologues; racing through his lines a little too fast. However, he settled down later on. The Eugene Jerome role

comes with a lot of pressure. After all, the young actor is playing Neil Simon as a young man. Who wouldn’t wobble a bit on opening night? Haveley, the actress, and Shelly Sheckler as Blanche, and Tuttle as Laurie perform yeoman duty in this tender, warm and funny coming of age comedy.

The set design by Haveley and Ron Stimbert is spot on for a Brooklyn apartment and is chock full of chachka’s thanks to the efforts of prop mistress Sue Kelly and her crew. Costumes by Karl Weimer has the period down cold, right down to the shoes and socks of the cast members. It’s a nice touch and is appreciated, I’m sure, by the cast. If Olivier worked from the inside out where the costumes helped him get a better feel for the character, then I think it will work for the St. Joseph actors in this production.

“Brighton Beach Memoirs” performs through November 2, 2014. Call the box office for tickets and reservations at 760-365-7133.